DOI Page / Citation link:
https://doi.org/10.11588/diglit.18720#0009
3
may be, it is clear from Strabo (xiv. 647) that the Magnesian disaster was a
subject of contention, on which he himself had made up his mind to the effect that
it had taken place in the interval between the dates of the two poets Callinos and
Archilochos. The passage from Athenaeus,1 quoted by M. Reinach, seems to be at
variance with Strabo, since it gives Callinos as well as Archilochos as an authority for
the ruin of the Magnesians. There may have been numerous raids of Cimmerians
on Greek cities in Asia Minor, and there may have been many painters who
painted these raids, but at present we only know as a fact the raids on Sardis,
Magnesia, and Ephesus, the last mentioned having been disastrous to the barbarians/
Leaving the relationship between the sarcophagi and the painting of Bularchos
as perhaps uncertain, we may compare next the work of another Asia- Minor artist,
Fig. i.—General View.
Bathycles of Magnesia, whose extensive series of reliefs on the throne of Apollo at
Amyclae Pausanias3 has described. Allowing for the great difference in the task that
was set before Bathycles, and not expecting much community of subject, we can yet
conceive that his Sphinxes, panther, and lioness may have fairly resembled in artistic
type the Sphinxes and other animals on our new sarcophagus. But more to our
purpose is his scene of the funeral games held by Acastos on the death of his
father Pelias, because on our new sarcophagus perhaps the most prominent feature is
the repetition of what I believe to be funeral games, ddXa or dymues. It is true that in
this instance Pausanias gives us no details, but he is more explicit in his description
1 xii. 525' : 'AttwXovto Se kou Mayv^re? ol 7T/dos ruin of Magnesia is referred to also by Theognis,
tw Maudv&pq) Sict to ir\eov dvedrjvcu, ws </>7?cr<< KaA.A.u'os 603 (Bergk).
iu t015 eAeyei'ots /cat 'Ap^tAxr^os- edXcocrav yap vtto t£>v 2 Callimachus, Hymn to Artemis, 251 fol.
'E(t>eo-i<Dv. This excess of luxury which led to the 3 iii. 18, 9.
may be, it is clear from Strabo (xiv. 647) that the Magnesian disaster was a
subject of contention, on which he himself had made up his mind to the effect that
it had taken place in the interval between the dates of the two poets Callinos and
Archilochos. The passage from Athenaeus,1 quoted by M. Reinach, seems to be at
variance with Strabo, since it gives Callinos as well as Archilochos as an authority for
the ruin of the Magnesians. There may have been numerous raids of Cimmerians
on Greek cities in Asia Minor, and there may have been many painters who
painted these raids, but at present we only know as a fact the raids on Sardis,
Magnesia, and Ephesus, the last mentioned having been disastrous to the barbarians/
Leaving the relationship between the sarcophagi and the painting of Bularchos
as perhaps uncertain, we may compare next the work of another Asia- Minor artist,
Fig. i.—General View.
Bathycles of Magnesia, whose extensive series of reliefs on the throne of Apollo at
Amyclae Pausanias3 has described. Allowing for the great difference in the task that
was set before Bathycles, and not expecting much community of subject, we can yet
conceive that his Sphinxes, panther, and lioness may have fairly resembled in artistic
type the Sphinxes and other animals on our new sarcophagus. But more to our
purpose is his scene of the funeral games held by Acastos on the death of his
father Pelias, because on our new sarcophagus perhaps the most prominent feature is
the repetition of what I believe to be funeral games, ddXa or dymues. It is true that in
this instance Pausanias gives us no details, but he is more explicit in his description
1 xii. 525' : 'AttwXovto Se kou Mayv^re? ol 7T/dos ruin of Magnesia is referred to also by Theognis,
tw Maudv&pq) Sict to ir\eov dvedrjvcu, ws </>7?cr<< KaA.A.u'os 603 (Bergk).
iu t015 eAeyei'ots /cat 'Ap^tAxr^os- edXcocrav yap vtto t£>v 2 Callimachus, Hymn to Artemis, 251 fol.
'E(t>eo-i<Dv. This excess of luxury which led to the 3 iii. 18, 9.